John Rusk

Kata Phusin

John Ruskin (8 February 1819 – 20 January 1900) was an English polymath – a writer, lecturer, art historian, art critic, draughtsman and philanthropist of the Victorian era. He wrote on subjects as varied as art, architecture, political economy, education, museology, geology, botany, ornithology, literature, history, and myth. Ruskin's writing styles and literary forms were equally varied. He wrot...

John Ruskin (8 February 1819 – 20 January 1900) was an English polymath – a writer, lecturer, art historian, art critic, draughtsman and philanthropist of the Victorian era. He wrote on subjects as varied as art, architecture, political economy, education, museology, geology, botany, ornithology, literature, history, and myth. Ruskin's writing styles and literary forms were equally varied. He wrote essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale, The King of the Golden River. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, architectural structures and ornamentation. The elaborate style that characterised his earliest writing on art gave way in time to plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society. Ruskin was hugely influential in the latter half of the 19th century and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability, ethical consumerism, and craft. Ruskin first came to widespread attention with the first volume of Modern Painters (1843), an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal duty of the artist is "truth to nature". This meant rooting art in experience and close observation. From the 1850s, he championed the Pre-Raphaelites, who were influenced by his ideas. His work increasingly focused on social and political issues. Unto This Last (1860, 1862) marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera (1871–1884). In the course of this complex and deeply personal work, he developed the principles underlying his ideal society. Its practical outcome was the founding of the Guild of St George, an organisation that endures today. Early life (1819–1846) Genealogy Ruskin was the only child of first cousins. His father, John James Ruskin (1785–1864), was a sherry and wine importer, founding partner and de facto business manager of Ruskin, Telford and Domecq (see Allied Domecq). John James was born and brought up in Edinburgh, Scotland, to a mother from Glenluce and a father originally from Hertfordshire. His wife, Ruskin's mother, Margaret Cock (1781–1871), was the daughter of a publican in Croydon. She had joined the Ruskin household when she became companion to John James's mother, Catherine. John James had hoped to practise law, and was articled as a clerk in London. His father, John Thomas Ruskin, described as a grocer (but apparently an ambitious wholesale merchant), was an incompetent businessman. To save the family from bankruptcy, John James, whose prudence and success were in stark contrast to his father, took on all debts, settling the last of them in 1832. John James and Margaret were engaged in 1809, but opposition to the union from John Thomas, and the problem of his debts, delayed the couple's wedding. They finally married, without celebration, in 1818. John James died on 3 March 1864 and is buried in the churchyard of St John the Evangelist, Shirley, Croydon. Childhood and education Ruskin was born on 8 February 1819 at 54 Hunter Street, Brunswick Square, London (demolished 1969), south of what is now St Pancras railway station. His childhood was shaped by the contrasting influences of his father and mother, both of whom were fiercely ambitious for him. John James Ruskin helped to develop his son's Romanticism. They shared a passion for the works of Byron, Shakespeare and especially Walter Scott. They visited Scott's home, Abbotsford, in 1838, but Ruskin was disappointed by its appearance. Margaret Ruskin, an evangelical Christian, more cautious and restrained than her husband, taught young John to read the Bible from beginning to end, and then to start all over again, committing large portions to memory. Its language, imagery and parables had a profound and lasting effect on his writing. He later wrote: She read alternate verses with me, watching at first, every intonation of my voice, and correcting the false ones, till she made me understand the verse, if within my reach, rightly and energetically. Ruskin's childhood was spent from 1823 at 28 Herne Hill (demolished c. 1912), near the village of Camberwell in South London. He had few friends of his own age, but it was not the friendless and joyless experience he later said it was in his autobiography, Praeterita (1885–89). He was educated at home by his parents and private tutors, including Congregationalist preacher Edward Andrews, whose daughters, Mrs Eliza Orme and Emily Augusta Patmore were later credited with introducing Ruskin to the Pre-Raphaelite Brotherhood. From 1834 to 1835 he attended the school in Peckham run by the progressive evangelical Thomas Dale (1797–1870). Ruskin heard Dale lecture in 1836 at King's College, London, where Dale was the first Professor of English Literature. Ruskin went on to enrol and complete his studies at King's College, where he prepared for Oxford under Dale's tutelage. Travel Ruskin was greatly influenced by the extensive and privileged travels he enjoyed in his childhood. It helped to establish his taste and augmented his education. He sometimes accompanied his father on visits to business clients at their country houses, which exposed him to English landscapes, architecture and paintings. Family tours took them to the Lake District (his first long poem, Iteriad, was an account of his tour in 1830) and to relatives in Perth, Scotland. As early as 1825, the family visited France and Belgium. Their continental tours became increasingly ambitious in scope: in 1833 they visited Strasbourg, Schaffhausen, Milan, Genoa and Turin, places to which Ruskin frequently returned. He developed a lifelong love of the Alps, and in 1835 visited Venice for the first time, that 'Paradise of cities' that provided the subject and symbolism of much of his later work. These tours gave Ruskin the opportunity to observe and record his impressions of nature. He composed elegant, though mainly conventional poetry, some of which was published in Friendship's Offering. His early notebooks and sketchbooks are full of visually sophisticated and technically accomplished drawings of maps, landscapes and buildings, remarkable for a boy of his age. He was profoundly affected by Samuel Rogers's poem Italy (1830), a copy of which was given to him as a 13th birthday present; in particular, he deeply admired the accompanying illustrations by J. M. W. Turner. Much of Ruskin's own art in the 1830s was in imitation of Turner, and of Samuel Prout, whose Sketches Made in Flanders and Germany (1833) he also admired. His artistic skills were refined under the tutelage of Charles Runciman, Copley Fielding and J. D. Harding. First publications Ruskin's journeys also provided inspiration for writing. His first publication was the poem "On Skiddaw and Derwent Water" (originally entitled "Lines written at the Lakes in Cumberland: Derwentwater" and published in the Spiritual Times) (August 1829). In 1834, three short articles for Loudon's Magazine of Natural History were published. They show early signs of his skill as a close "scientific" observer of nature, especially its geology. From September 1837 to December 1838, Ruskin's The Poetry of Architecture was serialised in Loudon's Architectural Magazine, under the pen name "Kata Phusin" (Greek for "According to Nature"). It was a study of cottages, villas, and other dwellings centred on a Wordsworthian argument that buildings should be sympathetic to their immediate environment and use local materials. It anticipated key themes in his later writings. In 1839, Ruskin's "Remarks on the Present State of Meteorological Science" was published in Transactions of the Meteorological Society. Oxford In Michaelmas 1836, Ruskin matriculated at the University of Oxford, taking up residence at Christ Church in January of the following year. Enrolled as a gentleman-commoner, he enjoyed equal status with his aristocratic peers. Ruskin was generally uninspired by Oxford and suffered bouts of illness. Perhaps the greatest advantage of his time there was in the few, close friendships he made. His tutor, the Rev Walter Lucas Brown, always encouraged him, as did a young senior tutor, Henry Liddell (later the father of Alice Liddell) and a private tutor, the Reverend Osborne Gordon. He became close to the geologist and natural theologian William Buckland. Among his fellow undergraduates, Ruskin's most important friends were Charles Thomas Newton and Henry Acland. His most noteworthy success came in 1839 when, at the third attempt, he won the prestigious Newdigate Prize for poetry (Arthur Hugh Clough came second). He met William Wordsworth, who was receiving an honorary degree, at the ceremony. Ruskin's health was poor and he never became independent from his family during his time at Oxford. His mother took lodgings on High Street, where his father joined them at weekends. He was devastated to hear that his first love, Adèle Domecq, the second daughter of his father's business partner, had become engaged to a French nobleman. In April 1840, whilst revising for his examinations, he began to cough blood, which led to fears of consumption and a long break from Oxford travelling with his parents. Before he returned to Oxford, Ruskin responded to a challenge that had been put to him by Effie Gray, whom he later married: the twelve-year-old Effie had asked him to write a fairy story. During a six-week break at Leamington Spa to undergo Dr Jephson's (1798–1878) celebrated salt-water cure, Ruskin wrote his only work of fiction, the fable The King of the Golden River (not published until December 1850 (but imprinted 1851), with illustrations by Richard Doyle). A work of Christian sacrificial morality and charity, it is set in the Alpine landscape Ruskin loved and knew so well. It remains the most translated of all his works. Back at Oxford, in 1842 Ruskin sat for a pass degree, and was awarded an uncommon honorary double fourth-class degree in recognition of his achievements. Modern Painters I (1843) For much of the period from late 1840 to autumn 1842, Ruskin was abroad with his parents, mainly in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, later married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy. It recalled an attack by the critic Rev John Eagles in Blackwood's Magazine in 1836, which had prompted Ruskin to write a long essay. John James had sent the piece to Turner, who did not wish it to be published. It finally appeared in 1903. Before Ruskin began Modern Painters, John James Ruskin had begun collecting watercolours, including works by Samuel Prout and Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842. What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous authority of "A Graduate of Oxford", was Ruskin's answer to Turner's critics. Ruskin controversially argued that modern landscape painters—and in particular Turner—were superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin maintained that, unlike Turner, Old Masters